【作者简介】田嘉毅，爱丁堡大学社会与政治科学学院

【文章来源】《社会学评论》2025年第5期

【内容提要】本文勾勒出中国艺术市场的结构模型，它由“全球-中国”“官方-职业”和“制度-民间”三个子系统构成。其中，“全球-中国”子系

统呈现了艺术品和艺术家在我国与全球市场间流动的过程，以及文化中间人和“中国性”的文化意义在其中的关键角色；“官方-职业”子系统突出政府主导和职业市场主导的两套艺术制度的相对独立和共存，它们共同构成我国制度化的艺术界；民间艺人、手工艺者和自学艺术家维系着小规模的民间艺术社群，他们相对独立于制度化艺术界并发展出各异的运作逻辑，构成“制度-民间”子系统。最后，本文回应了这一结构模型在经验和理论范式上的解释力和包容性，提炼了三个子系统影响力此消彼长的历史逻辑，并在回顾艺术社会学的意义感的基础上强调中国艺术市场研究的学科对话潜力。

【关键词】中国艺术市场 / 艺术社会学 / 全球化 / 艺术制度 / 民间艺术社群

【全文链接】http://src.ruc.edu.cn/CN/Y2025/V13/I5/5

The Structure of the Chinese Market of the Arts:A Sociological Analysis

Abstract: This article outlines the structure of the Chinese market of the arts,which is composed of“global-China,”“official-occupational,”and“institutional-folk”subsystems. First, the“global-China”subsystem shows the circulation of artworks and artists between the Chinese and global art markets. The cultural intermediaries and the meaning of“Chineseness”are key issues in these processes.Second, the“official-occupational”subsystem highlights the relative independence and coexistence of the government-led and occupational market-led art institutions.They collectively constitute the institutionalised art world in China. Third, folk artists, craftsmen, and self-taught artists maintain small-scale folk art communities. They are relatively independent of the institutionalised art worlds and develop various conventions of their own, which forms the“institutional-folk”subsystem. The article concludes by elaborating on this model’s empirical and theoretical applicability and inclusivity, summarising the historical transformation of the sub⁃systems, and discussing the prospect of the research on the Chinese market of the arts through a reflection on the meaning consciousness in the sociology of the arts.